Tuesday, May 10th, 2016
Timucua Arts Foundation and The Civic Minded 5 present
Peter Brötzmann Quartet w/Jason Adasiewicz,
John Edwards and Steve Noble
Timucua white house
2000 S. Summerlin Ave, Orlando
7:00 pm doors, 7:30 concert
Tickets- $20 General Admission available at Park Avenue CDs or
online here, all ages welcome
Peter Brötzmann makes his third trip to Orlando and the Timucua white house, presenting another bracing lineup of collaborators. There are ten U.S. dates in 2016 with this quartet and you have an invitation to witness their opening night in our favorite intimate listening environment.
You can make some connections between Peter Brötzmann’s visual arts pedigree and his later developing musical career. The reed player’s still-produced paintings have strong emphasis on color, texture and shape, opposed to detailed replication of extant imagery. That’s a fair jumping off point for Brötzmann’s playing on soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet and tarogato. The same departure point can apply to his compositional styles, less often tracking close to the American jazz musicians- including The New Thing pioneers- that provided the original impetus. The wind musician has developed and applied another pan-ecstatic, ritual music frame appending to his American predecessors and contemporaries, which were first strongly rooted in the blues form, eventually supplanted by pan-African and Far Eastern forms. Like many of his contemporaries, the America free music was suffused with the music and teachings of Karlheinz Stockhausen and John Cage. By the mid-1960’s, Brötzmann had toured with the world-traveling Don Cherry and returned to Germany to define the ground floor gestures of the country’s new jazz scene. Bassist (1990’s cm5 concertizer) Peter Kowald, pianist Alex Von Schlippenbach, trumpeter Manfred Schoof, and drummer Sven-Ake Johannson. Aggregates of these players resulted in Brötzmann’s entry into DIY record making via 1967’s For Adolfe Sax and 1968’s iconic, rumbling freedom of Machine Gun. A long-standing trio of pianist Fred Van Hove and drummer Han Bennink can be sourced via Berlin resident Jost Gebers’ Free Music Production (FMP) label. In addition to this trio, Brötzmann has been involved in a number of iconic outfits. The saxophonist was one surface of the gritty, diamond-hard electric jazz quartet Last Exit, with guitarist Sonny Sharrock, electric bassist Bill Laswell and drummer Ronald Shannon Jackson.
Vibraphonist Jason Adesiewicz has become a regular (and on the surface, unlikely) foil for Brötzmann’s untempered intonation and gale force intensity. Recordings and YouTube prove the value in their chemistry.
His website outlines ten different working groups including his ethereal while arresting Sun Rooms trio. Adasiewicz won the 2011 Downbeat Annual Critic’s Poll in the Rising Star Vibes category, and for the last 5 years has placed in the Vibes category. The Peter Brotzmann/Jason Adasiewicz Duo was chosen by the New York Times as one of the Top 10 Concert Highs of 2011.
We also proud to present the John Edwards and Steve Noble rhythm section in Central Florida. The Englishmen are mainstays of their island’s and the wider European creative improvised music circles. Double bassist John Edwards is known as a heavy hitter.In the European model of improvised music, the bass has been called upon to fill many roles previously unassigned with the exception of, say, an Iannis Xenakis score. Eremite Records chief Michael Ehlers points out the Edwards has become the most common face of the bass for the incomparable and nearly inexplicable saxophones of Evan Parker.
Steve Noble has a cm5 concert lovers’ pedigree going back to the beginnings of his professional career. Noble studied with Nigeria master drummer Elkan Ogunde in the early 1980’s. Noble channeled the simultaneous substrates of unhinged funk, noise, dub, free jazz and world music a là Don Cherry as a member of the avant-garde gateway drug known as Rip, Rig and Panic. By 1985, was involved with Derek Bailey’s Company, the improvisers’ version of a trade convention. Noble’s work allows for a seamless pivot between the fire, funk and abstract English witticisms.
Take part in the Timucua instant arts community created at each event by appearing willing – described by composer Anthony Braxton as the “friendly experiencer.” Timucua encourages a small plate dish and a bottle of wine for community distribution. We’ll see you there.